Sky Crawlers : L'Armée du ciel

"The Sky Crawlers" is directed by Mamoru Oshii, the 56-year-old genius director. He lets go of the screenplay this time and presents a fresh front by introducing a new scriptwriter, Chihiro Ito.

The most anticipated aspect of this film for fans of Hiroshi Mori, the author of the original novel, is how the director has translated the original into the medium of film. The original is like a poem where you can clearly see his vision with a lots of space in the sentences. It's also a challenge to decide on what extend the truth of the story is to be visible which was less clear in the original novel.

KillDren - Living weapons which never grew up, kept as adolescents their entire lives and created to show people a performance called a "war".

Once again, the film treats the dominant theme of the conflict between "humans" and "AI made by humans". However, the story has an appeal which is different from "Ghost In The Shell" or "Innocence".

Humans who do not know about wars; breeding, killing people, depriving family, or being full of hatred. They wish for peace, and exhausted by all the efforts which end in endless tragedy and death. The wars as a form of entertainment is a way to look directly at such concepts, and is a way to create a distance from such tragedies. The wars what make them recognise once more what they are truly happy about, by peeping at this extreme hopelessness.

Certainly, humans are greedy creatures and they expect that the safe and peaceful situation will continue and this would be fine without knowing whether they are truly happy. They still want to their further happiness because they are not satisfied with this situation. It is the moment that they realise they are actually happy, by recognising the position where they stand at the hierarchy of the society they live in and comparing it with others. It is through having wars as entertainment that people venture to create.

Meanwhile, there are girls and boys who only find their lives worth living in the sky, laughing in the sky, crying in the sky and killing other people using their right hands as Living weapons. KillDren, who love people, become puzzled with the truth, have some self confidence and sometimes are fragile. It is the same life as normal adolescent girls and boys, except they are weapons and never grow.

This is a story which tells us about what the truly important things in life are, and to see them living in our world and time.

Notes: Please watch till the end of the story even after the ending credit starts. The last scene will give you a hint to the secret of the story.

This movie is really quite good, especially the idea behind it all. If you are aware of Animes and Manga comics, then you might expect, the movie to be how it is. But if not, be prepared to get a whole lot of story. It might be too much for some audience members and you might not get everything with the first viewing. Now this either will get you hooked and you will watch the movie again or you will hate the movie and rate it badly.

Depending on what you think you can take, it should be up to you to decide if you want to watch it. If you do, you will be confronted with quite some interesting question (not all of which get an answer at all), that might inspire you to think some things over, that you take for granted.

The Sky Crawlers seem to live up to its name, that it really took its time to tell a story, but in doing so, allowed for the narrative to sink in. After all, it's brought to us by Mamoru Oshii, and as far as his filmography goes, this Japanese maestro's works is often deep, and have more than enough room for multiple viewings, each time allowing you to take away something different, or unnoticed from the previous time round.

Adapted by Chihiro Itou from Hiroshi Mori's story, you could see the themes that this movie had that would interest Oshii to be at the helm. They are nothing relatively new, as fans would see some similarities in the characters' struggle about their own existentialism, and what I enjoyed most, the connected thread between war and peace. It's like the notion of having to prepare for war that you get to enjoy some peace, and I guess every National Serviceman would have heard that at one point or another during their tour of duty.

While one can find some distinct parallels from Americanized films that pay homage or blatantly ripping off Oshii's earlier works, what I thought could have been toned down, was how toward the end, subtlety wasn't the rule of thumb, and almost every theory got explained verbatim. There were enough unanswered questions along the way to tickle your brain, leaving you guessing and drawing your own conclusions, but there were at least two crystal clear moments that decided to tell all and show all, taking away most of the fun. So in a way, you have less room to maneuver your thoughts during that after-movie discussion with friends.

I could imagine and understand any kid sitting inside a theatre hall having absolutely no patience for this masterpiece. Except for the opening sequence which had packed in the action at Top Gun pace, one's notion that this was going to be a war-action movie gets thrown out the window within 10 minutes. Naturally it has the potential to go in that direction by playing up and extending the aerial dogfights, but to do so would be to dumb this film down a lot of notches.

Granted its characters are pilots, and kid pilots at that, "Kildren" (I would like to think of it as Killer-Children) who don't seem to grow up, get careers in Corporations that seem to be waging war on behalf of nations, and pilot propeller-powered warplanes to engage their enemy in attacking and defending routines. Heck, there's even a Red Baron equivalent as the resident bogeyman too! They smoke, they kill (up in the air) and they make love, with nary an adult batting an eyelid, that you would deem them all turning a blind eye to their kids' shenanigans (of course there's a reason for this). Imagine the adults being quite nonchalant, and some even supportive, of kids fighting wars while they go about their daily lives, being quite unaffected other than being a feature in news bulletins.

So we follow the adventures, and mysteries weaved amongst the characters of Kannami Yuichi (voiced by Ryo Kase), base commander Kusanagi (Rinko Kikuchi of Babel fame, who had also collaborated in Oshii's omnibus movie Kill under the segment Assault Girl 2). The remaining supporting characters serve out their primary purpose, such as Tokino (Shosuke Tanihara) as the wingman/buddy, and Mitsuya (Chiaki Kruiyama, Kill Bill's Gogo Yubari) as the tell-all mouthpiece, which I thought that even without, the coda after the end credits roll would have summed it all up nicely.

This is Japanese anime, so its quality is excellent, with some really photo-realistic moments, and aerial dogfights that look as real as if they really built those planes and shot them in mid air. John Woo would also be proud at how balletic the shoot-em-ups can get, pulling back its punches as well to avoid any explicitness in its violence. The main theme of the soundtrack is extremely hypnotic and would linger on you for some time after the end credits roll. After all, it's by Kenji Kawai.

This is not an action movie, period. If that's the kind of movie you're expecting, then my advice would be to save your ticket money. If you're looking toward something that's more contemplative, and dealing with themes that would make you think along the way (until the two mentioned moments where the hints get more obvious), and maybe even appreciate life a little more, then march up to the box office when this opens next week. Highly recommended, and definitely a contender when I compile the top ten list for the year!

Just occasionally, you'll find a film where thew execution of drama over powers your awareness that the film is animated.

The Japanese style is arguable the most exploitative of animation, which is why Mamoru Oshii's rather minimal and refined approach which he brings to The Sky Crawlers is extraordinary in it way. The film is rather static with little physical movement, elongated cutting, wide open Kurosawa type shots, psychological use of color, light and shadow, and a haunting and mystic score. The film is kind of cold, but with a scene of mystery which makes it seductive. Even when we are up in the air with dozens of aircraft, gunfire, and spectacular balls of fire, the film maintains it's sense of calm. Oshiii handles it almost like a ballet. This is not a kids movie, and it's not for those with a short attention span. It it a deep slow psychological piece.

The ending is one that may divide an audience. Some will see it as giving The Sky Crawlers a sense of moral function, while others will argue that it makes the whole thing seem useless. I won't take either side. All I'll say is that I enjoyed the flight.

As another reviewer wrote earlier, I have little doubt that the film's mediocre rating is due to its slowness in developing the thesis that Mamoru Oshii hides behind the plot. It is a film that demands patience, so much in fact, that I find it directly to blame for the negative reviews. It is not a viewer's fault to lose interest when they have already seen more than half of a film and the fog that shrouds the plot remains as dense as it was at the beginning.

Nevertheless, with proper time, the doubts and issues that may have seemed incoherent are explained with efficiency and appeal. What initially looks inconsistent, once the viewer is given the background information, makes complete sense. The characters' erratic behavior, the anachronistic war machines, the nonsensical dialogues: it all makes sense in just a few minutes through an almost epiphany.

The film, very much in Oshii's style, raises philosophical questions revolving around existentialism and the ontology of human beings: what is the role of war in society, are our memories what make us what we are, what is the point of continuing to live day by day? All these questions are treated by the director in a plot that is unnecessarily slow, but still fascinating.

The Sky Crawlers forced me to reexamine the mindset I have when I watch an anime film. When I sit down to watch these types of works, I expect clichéd characters, fantastically absurd plots and flat thoughts that pretend to have depth. While there are plenty of exceptions, it is undeniable that many anime productions use characters and formulas as predictable as Hollywood blockbusters. The Sky Crawlers, to a prejudiced viewer like me, may at first seem like just another film in the long line of those Japanese animated features that rely more on the beauty of their art than their content. This is not the case. This is a deep and thoughtful work that, sadly, moves at a slower pace than what contemporary moviegoers are used to. I insist: the plot is spectacular and not overly complex, it is just slow.